Be’Lakor – Vessels Review

We’re going to Oz for this record. The Australian quintet Be’Lakor are on their forth album called Vessels and it’s a grand journey through some breathtaking melodic death metal riffing.

These veterans have carried their pyre for nine years now and they’ve helped define what a terrific release is. Tireless in its execution it’s talent in being emotionally provocative is only one aspect in why it’s wilful delivery is profound. Having soaring melodies that escalate throughout the album and a varied track list this album completely takes advantage of the popular four chord technique and expands on its application in mysterious ways.

With diversity being a key part of the play on this album one of the most noticeable uses is in the guitar work where it modulates from saw tooth spins to beautiful clean arrangements. It’s examples like these that display the range of colours guitars are capable of producing.

Music might be a controlled substance and focusing on the heavy sounds will mask your ears to some of the nuances that build this album into a grand affair. What speaks volumes is the manner in which the keys and effects are kept simple. Never interfering with the pacing or how a riff is conveyed and acting as a ward to the impending silence.

Yet even with the instrumentation optimised in these compositions there’s a component that feels muted. Clearly Be’Lakor are not in it for the gain. There a point where this album shows great control over music. Music is a powerful force and this could move Ayers Rock with its mighty sound.

David Oberlin is a composer and visual artist who loves noise more than a tidy writing space. You can often find him in your dankest nightmares or on twitter @DieSkaarj while slugging the largest and blackest coffee his [REDACTED] loyalty card can provide.